Me, working? Ha -- what a laugh.
You know the drill...
Aguirre: The Wrath of God (Herzog, 1973): 7/10
Naked (Leigh, 1993): 9/10
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In case you were unaware, I recently started working at an antique and cozy (read: tiny) movie theatre after two years of unemployment and extreme lethargy. It was previously a hybrid arthouse/multiplex that showed a balanced mixture of independent and mainstream film. However, over the summer, they have become full-blown mainstream (Mad Hot Ballroom does not really count as "independent", despite whatever anyone might say). Regardless, the job is undeniably easy (but not particularly simple -- I hate that damn tricky register at the concession stand). Since the theatre only contains four small theaters, we are generally not very busy. However, today I was exposed to the most frightening thing I have seen at the theatre since that creepy seventy year old man started a large argument a week ago because we had gotten rid of the new Hilary Duff movie the previous day: kids camp. Those little bastards believed that they owned the place simply because they rented out two theaters.
I had never been exposed to such a large amount of customers, and this was a massive crowd of little trolls who wanted their popcorn fast. Those brats made a complete mess, and if their counselors criticize out staff, I will be sure to reciprocate the "compliment" -- their staff was nearly absent the whole time. A flood of people came in for the next showing of Fantastic 4, but we were still cleaning the extreme garbage left behind by Hurricane KidsCamp, so they had to wait about 30 minutes to be let into the theater. I call that karmic revenge for going to see Fantastic 4. Heh -- suckers.
Last night I rewatched Ghost World (for about the four time) and couldn't help but laugh at loud during the scene where Enid begins her job at the movie theatre. I have already had two friends comment, "I can see you being just like Thora Birch in Ghost World to the customers at the movies".
The best part of the job, you ask (I know you didn't, but just play along -- I'm amusing myself)? Recommending quality flicks that are playing at the local arthouse 10 minutes away (which is managed by the same man). It is my life's mission to completely whore out Me and You and Everyone We Know -- one of my favorites during April's Philadelphia Film Festival.
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Aguirre: The Wrath of God is undoubtedly strongest in its final stages, when it takes a refreshing turn for the bizarre. However, there is an hour that precedes the thematic denouement. A statment on humanity, which is surprisingly a bit weaker than I expected, takes precedence over the avarice and vengeful tactics of God (which, aside from the inherent religious implications, are as deep as the tricks played on the doomed teenagers from Final Destination) present in the final third of the film. Herzog's observations on nature and survival, driven by impressive imagery, are insightful and becomes one of the only themes that, aside from feeling complete, is explored with subtlety. More consistent is Kinski, with his apelike swagger, who is always an intruiging character. He injects his stubborn conquistador with intensity, as he wallows in extreme greed and unrealized ambition (and, ultimately, delusions of grandeur).
Oh, and go see Miranda July's observant and refreshingly unique Me and You and Everyone We Know, people!
Aguirre: The Wrath of God (Herzog, 1973): 7/10
Naked (Leigh, 1993): 9/10
---
In case you were unaware, I recently started working at an antique and cozy (read: tiny) movie theatre after two years of unemployment and extreme lethargy. It was previously a hybrid arthouse/multiplex that showed a balanced mixture of independent and mainstream film. However, over the summer, they have become full-blown mainstream (Mad Hot Ballroom does not really count as "independent", despite whatever anyone might say). Regardless, the job is undeniably easy (but not particularly simple -- I hate that damn tricky register at the concession stand). Since the theatre only contains four small theaters, we are generally not very busy. However, today I was exposed to the most frightening thing I have seen at the theatre since that creepy seventy year old man started a large argument a week ago because we had gotten rid of the new Hilary Duff movie the previous day: kids camp. Those little bastards believed that they owned the place simply because they rented out two theaters.
I had never been exposed to such a large amount of customers, and this was a massive crowd of little trolls who wanted their popcorn fast. Those brats made a complete mess, and if their counselors criticize out staff, I will be sure to reciprocate the "compliment" -- their staff was nearly absent the whole time. A flood of people came in for the next showing of Fantastic 4, but we were still cleaning the extreme garbage left behind by Hurricane KidsCamp, so they had to wait about 30 minutes to be let into the theater. I call that karmic revenge for going to see Fantastic 4. Heh -- suckers.
Last night I rewatched Ghost World (for about the four time) and couldn't help but laugh at loud during the scene where Enid begins her job at the movie theatre. I have already had two friends comment, "I can see you being just like Thora Birch in Ghost World to the customers at the movies".
The best part of the job, you ask (I know you didn't, but just play along -- I'm amusing myself)? Recommending quality flicks that are playing at the local arthouse 10 minutes away (which is managed by the same man). It is my life's mission to completely whore out Me and You and Everyone We Know -- one of my favorites during April's Philadelphia Film Festival.
---
Aguirre: The Wrath of God is undoubtedly strongest in its final stages, when it takes a refreshing turn for the bizarre. However, there is an hour that precedes the thematic denouement. A statment on humanity, which is surprisingly a bit weaker than I expected, takes precedence over the avarice and vengeful tactics of God (which, aside from the inherent religious implications, are as deep as the tricks played on the doomed teenagers from Final Destination) present in the final third of the film. Herzog's observations on nature and survival, driven by impressive imagery, are insightful and becomes one of the only themes that, aside from feeling complete, is explored with subtlety. More consistent is Kinski, with his apelike swagger, who is always an intruiging character. He injects his stubborn conquistador with intensity, as he wallows in extreme greed and unrealized ambition (and, ultimately, delusions of grandeur).
Oh, and go see Miranda July's observant and refreshingly unique Me and You and Everyone We Know, people!